"Sandi Slone’s Red Letter Day is awash with symbols, and seems more like the cave walls of Lascaux or Le Chauvet. Her paintings are an accretion of visual ideas over time. From the upper right hand corner we read a bright red aleph-like shape, but this visual key presides over a cascade of less discernable but still interpretable signs. Black circles, boxes and ladders fall away from the aleph into a rosy and grey miasma. Eros (2009) uses a similar figure ground typology, a single brushstroke with six dangling pods looms over a washy fade from light blue to yellow, like some forgotten gesture to call up a goddess." - Artcritical.com

“I still think painting is the great unknown, a parallel universe” ( in conversation with Jennie Lamensdorf) Even though Sandi Slone has often worked with oversized brushes—an early series of abstract paintings made with large brooms established her reputation as a young painter — she long has had a predilection for intimate gestures and unexpected incidents that signal her preoccupation with visual strategies as metaphors for everything from the materiality and sensuousness of color and light that impact landscape memory and the body, to the current state of our fraught planet. There has always been a sense of the hand, of calligraphic gestures and shapes, that explore the language of contemporary abstraction with its wide ranging references as much as her sweeping swaths of paint and thick transparent pours do—extending the conversation around modernism and what came after.